I make paintings of rooms and objects that have been appropriated from a residence into a curated space such as a catalogue or museum. These primary sources and my own documentation inform the constructed spaces I depict. The illusory nature of the period room is a reflection of the curator’s decisions. My work responds to the fact that museum curation is a fundamental extension of painting. I often paint from the point of view of a museum patron, depicting a chair from above, partially obscured by a placard explicating its construction and relevant history. I exploit this experience, analyzing the restricted perspective. When I am researching on location, I observe the frenzied snapping of digital images and the reading of placards, which supplant the experience of the room. My paintings emphasize the parts of the display that are generally overlooked, such as reflections on a glass divider or a raised section of the floor. In doing this I challenge the disinterested gaze of museum visitors and art viewers by requiring a longer look from an angle that can only seem jarring when painted. The color choices are often surprising, making the viewer question the memory of the experience. It combines elements of red-tinting fluorescents, spotlighting, walls that are painted to match the objects on display and faded colors of chair cushions. The work is not a document of the rooms or of history, but of first person experience.